In the field of framing, objects such as photographs, paintings, artwork, and crafts are often mounted in a frame structure under glass for display and preservation. Additionally, matting materials of a variety of compositions, colors, and textures are used as a border between the object displayed and the frame structure in order to highlight and augment certain qualities of the displayed object. The ability to select aesthetically pleasing and unique combinations of colors, shapes, and textures of matting and framing material to highlight the object for display is a key factor for success in the competitive business of framing. Consequently, the selection and cutting of matting into unique shapes has become a highly developed art.
A new popular and unusual matting configuration involves the use of multiple circles and elipses positioned about a larger circle rather than straight lines and square corners. Typically, the final framing configuration has oval or elliptical scalloped shapes cut in the perimeter of multiple layers of matting proximate to the artwork. This configuration is especially useful where the displayed artwork is of an unusual shape. For example, crocheted doillies can involve numerous combinations of triangular, elliptical, or circular shapes. However, this configuration has also become popular for use in framing standard square artwork. It should be noted that regardless of the artwork used, each combination of artwork and matting generally requires a different matting layout to achieve the most pleasing aesthetic effect.
Currently available oval cutters cut single circles or ovals in matting about a fixed center. An example of such an oval cutter is currently marketed by the 3M Corporation of Minneapolis, Minn. as the C & H Oval Master. The use of such machines to cut ovals about a larger circle requires the operator to manually reposition the matting under the cutter for each scalloped cut without any reference. This makes the cutting of a scalloped configuration virtually impossible, results in considerable error, and often results in a visually imperfect product. To attempt to cut a scalloped matting configuration in such a manner is so laborious and time consuming that the final product is so expensive it is commercially unacceptable. Yet, each piece of artwork for display requires different matting configurations with consequently new layout calculations and sizing. The time and effort involved in making new layout calculations and setting up the matting to be cut for each new piece of artwork stifles artistic creativity, greatly increases cost, eliminates accurate reproduction, and has virtually eliminated the availability of this type of decorative matting.